University of New Mexico UNM Digital Repository Theatre & Dance ETDs Electronic Theses and Dissertations 7-12-2014 Fascism, Flamenco, and Ballet Español: Nacionalflamenquismo Theresa Goldbach Follow this and additional works at: https://digitalrepository.unm.edu/thea_etds Part of the Dance Commons, European Languages and Societies Commons, and the Political Science Commons Recommended Citation Goldbach, Theresa. "Fascism, Flamenco, and Ballet Español: Nacionalflamenquismo." (2014). https://digitalrepository.unm.edu/ thea_etds/9 This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Theatre & Dance ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. i Theresa Goldbach Candidate Theatre and Dance Department This thesis is approved, and it is acceptable in quality and form for publication: Approved by the Thesis Committee: Mary Anne Santos Newhall , Chairperson Eva Encinias-Sandoval Marisol Encinias Gretchen Williams ii FASCISM, FLAMENCO, AND BALLET ESPAÑOL: NACIONALFLAMENQUISMO BY THERESA GOLDBACH B.S. IN RADIO-TELEVISION-FILM FROM THE UNIVERSITY OF TEXAS AT AUSTIN, 1999 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS IN THEATRE AND DANCE The University of New Mexico Albuquerque, New Mexico MAY 2014 iii DEDICATION For my Mom. She put me in my first ballet class and my first flamenco class. She sewed costumes, spray-painted shoes, and hot-glued flowers. She gave me the dance experience that she did not have access to as a child and I am eternally grateful. iv ACKNOWLEDGEMENTS I would like to thank my mother and my sister Veronica for all their love and support during the researching and writing of this thesis. I must thank the staff at the Archivo General de la Administración in Álcala de Henares for all of their help with my archival research. I also thank the Graduate and Professional Student Association of UNM and the Office of Graduate Studies for their financial assistance in getting me to Spain to conduct my research in the first place. Donna Jewell, Vladimir Reche, Sarah Lentz, and the UNM Department of Theatre and Dance have also been extremely supportive of my research and academic activities as well as my artistic pursuits. Elizabeth Aldrich was an amazing mentor and I learned (and laughed) a great deal as her assistant. Gretchen Williams provided me with excellent advice and background on flamenco history. Sarah Williams and Mary Cianflone provided sympathy, commiseration, and served as living proof that there is life after the thesis. The Guest professor line in the Flamenco program was a marvelous resource. In particular José Galván not only shared his experience of living through the Franco years with me but his warmth and kindness as well. I owe a huge debt of gratitude to the Encinias family for their patience, guidance, and generosity from the very start of this process. The entire flamenco community of Albuquerque has proved open, welcoming, and supportive. I could not have done any of this academic work without the flamenco foundation provided by the UNM Flamenco program. Of course, Mary Anne Newhall was essential to this process as well, always smiling and telling me to try again. I do not know if I would have survived these last two years without her emotional and academic support. Lastly I would like to thank my first flamenco teachers: Javier Villegas, Carmen “La Chiqui” Linares, and Jimmie Kaye Ramos. They sparked a flamenco curiosity that continues to this day. v FASCISM, FLAMENCO, AND BALLET ESPAÑOL By Theresa Goldbach B.S. in Radio-Television-Film from the University of Texas at Austin, 1999 M.A. in Theatre and Dance History from the University of New Mexico at Albuquerque, 2014 ABSTRACT The nationalist regime of General Francisco Franco (1936-1975) dramatically and forcefully reshaped every element of Spanish culture including dance and flamenco. Many flamencologists derisively refer to the resulting product of this system as nacionalflamenquismo or “national-flamencoism.” The bureaucratic mechanics that created nacionalflamenquismo evolved throughout the first three decades of the regime to fit with changing economic and political realities. As Spain re-entered the global community following its Civil War (1936- 1939), flamenco and Spanish dance proved useful tools for international public relations as well as domestic propaganda. By discerning the various factors that linked the art of flamenco to the political and economic fate of its country of origin, a more complete understanding of how art and politics affect each other develops and the symbolic power of dance in this equation becomes apparent. This thesis utilizes archival resources from the Ministry of Education and Ministry of Information and Tourism archives in the Archivo General de la Administración in Álcala de Henares, Spain. vi TABLE OF CONTENTS Acknowledgments…………………………………………………………………………….. iv Abstract………………………………………………………………………………………... v INTRODUCTION.................................................................................................................... 1 CHAPTER 1: FASCISM, THE FALANGE, AND THE BIRTH OF FRANQUISMO…. 7 Spanish Fascism?............................................................................................................ 7 Falange Española and Andalucía………………………………………………………8 Fascismo and History………………………………………………………………......12 “Viva la Muerte”: Fascism and Death………………………………………………… 16 Franco and Germany: Almost Axis…………………………………………………… 17 CHAPTER 2: CENSORSHIP AND THE POLITICS OF CLASSIFICATION………… 22 “¡Arriba España!”: The Falange and Censorship…………………………………….. 22 Official Censorship Guidelines: From Nationalism to National Catholicism (1940-1945)…………………………………………………………………………… 25 National Catholicism: Policing the Exotic, the Erotic, and the Comedic (1945-1956)………………………………………………………………………….... 29 Propaganda and Tourism: Nationalism, Catholicism, and Capitalism (1956-1966)…………………………………………………………………………… 34 CHAPTER 3: “ESPAÑA ES DIFERENTE”…………………………………………….… 38 Selling Spain: The Spanish Tourism Public Relations Campaign......…………….….. 38 Origins of Ballet Español: A Spanish National Genre………………………………... 41 FESTIVALES DE ESPAÑA: A Calendar of Color………………………………...… 46 Festival de Córdoba…………………………………………………………………… 50 CHAPTER 4: “THE PEDAGOGY OF FREE TIME”………………………………….… 54 Department of Popular Culture: Bureaucrats, Scholars, and Artists………………….. 54 vii Marketing Jondura: The Festival de Jerez…………………………………………… 56 Hispanidad and Latin America………………………………………………………. 59 “La Pedagogía del Tiempo Libre”: The Pedagogy of Free Time……………………. 63 CONCLUSION……………………………………………………………………………... 69 References……………………………………………………………………………………. 74 APPENDICES: Appendix I: EXCERPTS FROM THE “GUIDELINES FOR ALLOCATING INSPECTORS AND CONDUCTING CENSORSHIP”……...……… 96 Appendix II: EXCERPTS FROM THE LETTER TO THE SR. DELEGADO PROVINCIAL DE LA SUBSECRETARÍA DE EDUCACIÓN POPULAR FROM EL INSPECTOR MANUEL SANZ DATED 18 JUNE 1951….….… 98 Appendix III: EXCERPTS FROM THE “ACTO DE CLAUSURA DE LA II ASAMBLEA DEL CONSEJO NACIONAL DE ‘FESTIVALES DE ESPAÑA’,” MÁLAGA, NOVIEMBRE 1964 ……………………….……… 99 Appendix IV: EXCERPT FROM THE “GALA HISPANOAMERICANA DE FESTIVALES DE ESPAÑA 1 MARCH 1966” PROGRAM NOTES……… 101 Appendix V: Glossary of Terms…………………………………………….……….. 103 1 INTRODUCTION I. TOPIC SUMMARY: The nationalist regime of General Francisco Franco (1936-1975) dramatically and forcefully reshaped every element of Spanish culture including dance and flamenco. Many flamencologists derisively refer to the resulting product of this system as nacionalflamenquismo1 or “national-flamencoism.” The bureaucratic mechanics that created nacionalflamenquismo evolved throughout the first three decades of the regime to fit with changing economic and political realities. As Spain re-entered the global community following its Civil War (1936- 1939), flamenco and Spanish dance proved useful tools for international public relations as well as domestic propaganda. By discerning the various factors that linked the art of flamenco to the political and economic fate of its country of origin, a more complete understanding of how art and politics affect each other develops and the symbolic power of dance in this equation becomes apparent. In this thesis, I will trace the changing tactics of government control over dance from end of the Spanish Civil War and the start of World War II (1939) through the beginning of the decline of Franco’s grip on power (1965). I will demonstrate the links between the Spanish brand of fascism (Falangism) and the history of Spain and flamenco. I will also show how the former’s perception of the latter would influence the evolution of flamenco as a performing art. I will analyze the structure and standards of Spanish censorship in the early days of the Franco regime as well as dissect the mechanisms involved in coordinating this effort. I will detail the festival campaign and accompanying public relations bonanza that contributed to the strategy of the 1 A conflation of flamenco with other Spanish national genres, an exaggeration of flamenco costuming, and an overly commercialized interpretation of the genre all marked the style of nacionalflamenquismo. 2 departments of propaganda and popular culture. I will examine how the choices, personal preferences, and prejudices of government bureaucrats determined which artists would